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香格里拉香水和香水:Épinetra等。形式,肖像和功能

香格里拉香水和香水:Épinetra等。形式,肖像和功能

By Panayota 巴迪努. Pp. xvi + 239, pls. 155. Peeters, Louvain and Dudley, Mass. 2003. $77. ISBN 90-429-1309-6 (cloth).

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这项重要的研究基于作者’的博士学位论文,由克劳德·B(Claude B)完成é1998年在塞萨洛尼克大学(University of Thesalonike)从事初步工作后,在洛桑大学(University of Lausanne)任教。 巴迪努将她的询问重点放在两种特定的花瓶形状上—埃尼佩特拉和阿拉巴斯特—从前提出发“香格里拉香水éléess essentiels dans la vie de la femme古董” (xiii).

在简要介绍了她的方法之后(与B的方法协调一致)é巴德努(Rard)和法语学校的其他肖像画家),她将她的研究分为两个部分:一个是给epinetra的,另一个是给alabastra的。每个部分又细分为两个部分:第一部分是形式和功能,第二部分是肖像。巴迪努的重要方面’本研究关注形式,功能和主题之间的假定关系。她并不孤立地考虑这些图像。她将影像学与血管形状联系起来,并延伸到女性观察者将如何使用和感知所涉及的Epinetron / alabastron。

This approach renders the sections 上 form and function vital to the overall study. In discussing epinetra, 巴迪努 outlines the problems of terminology and surveys the history of research. In discussing alabastra, 巴迪努 includes a lengthy analysis of the depiction of alabastra in various scenes as a tool for understanding their uses and audience. She concludes that alabastra must have been exclusively associated with female users and had a particular connection with luxury and 异国情调 perfumes.

Exploration of iconography forms the bulk of the study. 巴迪努 subdivides the iconography of epinetra into “sujets du monde féminin” and “世界博览会” (Amazons and maenads). 的iconography of alabastra is subdivided into these same two categories, along with a third, “sujets du monde masculin。”

讨论“sujets du monde féminin” focuses a great deal 上 the social status of the 女人 depicted. 的familiar “spinning hetaira” debate arises, with 巴迪努 taking a different stance when it comes to epinetra vs. alabastra. With epinetra, she suggests that when 女人 are shown with men they must be hetairai, whereas with alabastra, she acknowledges the apparent ambiguity of some of the representations. (The alabastron Cab. Méd. 508 [Badinou’的猫。没有。 [A255]及其 他若虫羽衣甘蓝 inscription, persuades 巴迪努 that the hetaira label should not be applied too hastily when it comes to alabastra.)

但是,对其中一艘船的误解意味着Badinou’s proposal for the 女人 accompanying men 上 epinetra is problematic. 的unattributed epinetron Athens 2179 (cat. no. E 57) is curiously identified in the catalogue and text as showing four 女人 with Eros 上 its obverse, when—尽管它受到侵蚀—它清楚地描绘了三个女人和一个男人。巴迪努甚至说明了卡尔·罗伯特’s这个花瓶的重建图,显示了一个男人(图30)。罗伯特·萨顿(Robert Sutton)在1981年的论文中及其他地方有说服力地辩称,该男子背着一篮子羊毛球,而场面本身很可能表明一个公民 奥科斯。但是巴迪努没有讨论萨顿’的解释,尽管他的论文列在她的参考书目中。单独使用这种Epinetron表示,很难将所有在Epinetra上有男人的女性识别为hetairai。取而代之的是,巴迪努以现在已经过时的假设(即妇女被孤立在“women’s quarters,”因此,男人将不会在他们旁边代表。她没有解决这样一个事实,即她认为表明河合莱的一些海底生物是在避难所环境中发现的。

的“spinning hetairai” aside, 巴迪努’关于埃尼佩特拉和阿拉巴斯特拉的肖像学的讨论是扎实而充分的。她建议“exotic”epinetra上的女仆和亚马逊河主题充当了“respectable” 女人; sometimes epinetra show citizen 女人 上 上 e side and Amazons or maenads 上 the other. For alabastra, she follows the interpretation that maenads, Amazons, and black Africans were popular as suitably 异国情调 subjects for vessels containing 异国情调 imported perfumes. As for the images of male athletes and warriors 上 alabastra, because she believes alabastra were exclusively for 女人, she argues that images of men were intended as attractive subjects for the female viewers.

巴迪努’通过对上下文的进一步讨论可以加强s的论点。例如,是否有专门针对特定形状或主题的特定艺术家和工作室?某些图像主题在某些时间点是否更受欢迎?如果是这样,这与当代社会历史环境有什么关系?

大量的埃尼佩特拉和阿拉巴斯特拉目录使这项研究更加完善(142–218), followed by plates and/or drawings of all vessels in the catalogue plus numerous comparative vases. 的catalogue and plates prove especially useful, given the assemblage of rarely published material together with better-known pieces. 的bibliography includes most of the relevant secondary sources, to which add three notable works published too late to be considered: Ferrari (修辞格:古希腊的男女 [芝加哥2002],刘易斯(的Athenian Woman: An Iconographic Handbook [伦敦和纽约,2002年]和Mercati(Epinetron:考古学和文化的社会形式 [Perugia 2003]。

的production quality is high and errors are few. A minor criticism: with her numerous comparative vases, 巴迪努 provides Beazley numbers but generally not the name of the painter/workshop. One is therefore obliged to look up unfamiliar vessels in the Beazley volumes to discover the painter’s identity.

总结一下, 香格里拉香水 是对肖像研究的重要贡献,尤其是对雅典花瓶上以女性为中心的图像的研究。尽管它留下了一些未解决的问题,但却为进一步的讨论指明了道路,特别是通过巴迪努’形式,功能和图像的成功整合,成为相互依赖的查询领域。

Sheramy D.Bundrick
艺术史系
南佛罗里达大学彼得斯堡
第七大道南140号,戴维斯厅258
圣彼得堡,佛罗里达州33701
bundrick@stpt.usf.edu

的书评 香格里拉香水:Épinetra et alabastres。形式,肖像和功能, by Panayota 巴迪努

Sheramy D.Bundrick评论

美国考古学杂志 卷111,第4号(2007年10月)

在线发布于 www.ajaonline.org/book-review/525

DOI:10.3764 / ajaonline1114.Bundrick

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